Azar, Lockett, Rey, Salamanco at Pasaje 17, Buenos Aires

It was more than improbable that this four artists met in a common project. Nevertheless, here they are, luckily gathered: Amadeo Azar, Milo, Roberto Rey and Hernán Salamanco present this strange and seductive exhibition, at the Contemporary Art Gallery Pasaje 17.
Azar, moving away from the dystopias, from neat models, axonometric drawings and faint watercolors joins Salamanco, who gives up his industrial paints and recovered signs in order to work together in a project that, even though is being executed in their present artistic maturity, has been gestated since their childhoods, from memories and pictures kept by the artists through the years. They make a disturbing piece of art that remits to creepy and fascinated children of ambiguous ingenuity.

Roberto Rey goes deeper into the time/light allusion and conceives, with Visual Exercise, a multimedia installation that, quoting the curator, ponders, though different mediums such as the video, the model and the image, about the limits in which thing acquire or lose their entities depending on the light that shines down on them. It’s a metaphor about our perceptive disabilities or the excess with which the century of the lights still irradiates its irreducible reason and Rey takes over with that implacable light until the point of making one of Argentina’s icon of modernity, Amancio Williams’ House of the Bridge (Casa del Puente) vanish.

Milo, from his apparent simplicity, surprises us from the moment of the conception of his work. Two of his pieces were made in public, making his production a permanent exercise of exchange with the spectator, encouraging him to play an active game, that in this case was extended to his colleagues.

The gallery’s proposal deserves a separate paragraph. Two days before the inauguration, and with the participation of the artists, it invited the general public to witness the curatorship, the montage and execution of some of the pieces exposed, transforming the usual intimacy of the backstage into an open doors performance.

In the underground room there are paintings by Roberto Rey and Milo Lockett and some papers made by the pair of Azar and Salamanco.

With curatorship by Héctor Médici and a spotless coordination by Dolores Casares, this is an exhibition to be appreciated by artists and by those unwary ones that dare to go into these unique universes that are displayed.

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